I figured out from playing around that with default settings, 0 to -20 dB is indistinguishably white, -100 and below is indistinguishably grey, and -40 is red, -60 magenta, -80 pale blue, with gradations between.
Try generating sine waves with amplitudes 1, .1, .01, .001, etc. which correspond to those dB values.
The one page does point to the other for Preferences, but it isn’t explained that there are red, magenta, and pale blue colors evenly spaced along the dB scale between “Gain” and “Gain - Range”. I figured that out by playing and later confirmed that is how the code also works.
“Gain” is just where white gives way to pink and “Gain - range” is just where pale blue fades to grey.
I’ll leave it as is. The description for “Gain” does say that “20” corresponds to -20 dB. And it is just possible to see a tone of -100 dB at default Spectrograms settings, so I don’t want to start giving examples.
That was an extreme example : pushing it to the limit , for most cases less than 10 bands would be sufficient.
[ I think SpitFish is only has one band ].
For voice-overs only lasting around minute the processing delay isn’t too bad, and the results are worth the wait.
Here I’ve used the de-esser on the trumpet which was center-panned , but after applying the de-esser the trumpet moves about in the stereo field because the channels are processed separately rather than linked …
Those frequency settings aren’t de-essing any more! It sounds like you are using it as a band limiter instead to change a mix without having separate tracks. Interesting to see novel uses.
For fun, subtract the original from the modified signal, by inverting the original and mixing. In the residue, I hear no bass at all. I do hear a lot of the voice in the right channel. It’s not quite unchanged then in the treated track.
I am not sure I have the ear training to hear all that you hear, but I think the bad effect is very noticeable between :09.7 and :11.2, yet I don’t notice it at all after that. Am I hearing the right thing?
To remove a whistle each band has to be about 100Hz wide , or less, within the whistle frequency range.
At that high-resolution, processing on my (five year old computer) take several times the duration of the track,
standard de-essing which only requires bands say 1kHz wide is a lot quicker: less than duration.
(ln(4800 / 3800) / 10 ) / ln 2 = 0.0337 octaves per band, or 0 steps and 40.44 cents.
Those are REALLY narrow bands! Isn’t that excessive for good results? My default settings, which I find satisfactory for blanket treatment of tracks, are 10 bands between 2500 and 8000 which works out to 2 steps 1.37 cents, call it two.
This math isn’t very exotic – graphic equalizer sliders are logarithmic too, after all – and Audacity’s graphic equalizer has 4 steps per band, so I only halved that width for my defaults.
Narrower bands are more expensive to calculate than wider ones, and lower frequency bands are more expensive than higher.